Excerpted from congratulatory trade ad by the maker of Simplex projectors, which had been used (and regularly updated) by the Capitol since its grand opening in 1919.
In a trade article at the time, architect Schlanger said that the premises were previously a food market. If true, that might have been the fate of the original Strand at this location.
The re-development of the RKO Keith’s site is proceeding “according to plan” and will start in the first six months of this year (which would mean by July at the latest), according to a report by the Queens Tribune: http://queenstribune.com/rko-keiths-development-according-plan/
Academy of Music listed in Manhattan section under Skouras Theatres. Just prior to this, “Millionaire” played exclusively for two weeks at the RKO Albee in downtown Brooklyn. Original Broadway engagement was at Loew’s State and nearby Brandt’s Globe.
Danny Kaye made his feature debut in “Up in Arms,” but he was already well-known for work in Broadway musicals, nightclubs, and in stage shows in movie palaces such as NYC’s Roxy and Paramount.
Four months after a record-breaking stage booking with “Call Me Mister” on screen, Danny Kaye returned to the Roxy on celluloid in a Technicolor romp in which he portrayed multiple roles.
The B&W melodrama by the author of “All Quiet On the Western Front” was Hollywood’s boldest exposure of Nazi tyranny yet. Co-producer David Loew was one of the twin sons of Marcus Loew.
Opened two days before Easter on “Good Friday.” Throughout 1937, the Roxy was also celebrating the 10th anniversary of its grand opening.
Easter Sunday arrived on April 13th that year.
Albee listed across bottom of the ad, with exclusive first-runs for the borough of Brooklyn.
Merle Oberon was romantically involved with the movie’s producer, Alexander Korda, whom she married the following year.
I doubt that the German-language showcase had anything in common with the current multiplex except location.
Excerpted from congratulatory trade ad by the maker of Simplex projectors, which had been used (and regularly updated) by the Capitol since its grand opening in 1919.
This was the final marquee for the legendary playhouse.
Opened on March 28th, 1957, well ahead of Easter Sunday, which fell on April 21st that year.
In a trade article at the time, architect Schlanger said that the premises were previously a food market. If true, that might have been the fate of the original Strand at this location.
Twins were booked with the same features, but with staggered starting times.
The Paradise was never an “independent” cinema, always operated by the original Loew’s (and successors) from opening to closure.
Some of the original Ideal décor remained, but walls were covered with pleated drapes.
The re-development of the RKO Keith’s site is proceeding “according to plan” and will start in the first six months of this year (which would mean by July at the latest), according to a report by the Queens Tribune: http://queenstribune.com/rko-keiths-development-according-plan/
The last movie made by Carole Lombard before she died in a plane crash in January of that year.
Academy of Music listed in Manhattan section under Skouras Theatres. Just prior to this, “Millionaire” played exclusively for two weeks at the RKO Albee in downtown Brooklyn. Original Broadway engagement was at Loew’s State and nearby Brandt’s Globe.
Danny Kaye made his feature debut in “Up in Arms,” but he was already well-known for work in Broadway musicals, nightclubs, and in stage shows in movie palaces such as NYC’s Roxy and Paramount.
“Meet Me in St. Louis” had already played a record-breaking engagement directly across Broadway at the Astor Theatre.
The shuttered theatre at left was a local landmark until demolition in the late 1950s.
Orpheum listed in section with “Halls of Montezuma” as main feature.
Warwick listed in section with “Kim” as main feature.
The Al Jolson biopic was a “move-over” from the RKO Orpheum, where it played its premiere engagement for the southern USA.
The opening “Three Little Girls in Blue” was already three years old by that time, a distribution delay that was typical for drive-ins in that era.
Four months after a record-breaking stage booking with “Call Me Mister” on screen, Danny Kaye returned to the Roxy on celluloid in a Technicolor romp in which he portrayed multiple roles.
The B&W melodrama by the author of “All Quiet On the Western Front” was Hollywood’s boldest exposure of Nazi tyranny yet. Co-producer David Loew was one of the twin sons of Marcus Loew.
An appropriate booking for the Memorial Day holiday period of that year.